{"id":232,"date":"2025-02-04T11:50:53","date_gmt":"2025-02-04T11:50:53","guid":{"rendered":"https:\/\/myrce.net\/?p=232"},"modified":"2025-02-04T11:56:09","modified_gmt":"2025-02-04T11:56:09","slug":"no-right-of-survivorship-2021","status":"publish","type":"post","link":"https:\/\/myrce.net\/index.php\/2025\/02\/04\/no-right-of-survivorship-2021\/","title":{"rendered":"NO RIGHT OF SURVIVORSHIP, 2021"},"content":{"rendered":"\n
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ESPA\u00d1OL<\/strong><\/p>\n\n\n\n

El proyecto No Right of Survivorship<\/em> plantea una reflexi\u00f3n sobre la vigilancia en Internet y c\u00f3mo, de manera voluntaria, nos sometemos a ella a cambio de ciertos privilegios. Su enfoque se centra en la acumulaci\u00f3n de datos de personas fallecidas en la red social Facebook, donde, tras haber cedido su informaci\u00f3n en vida, esta permanece en propiedad de la empresa, convirti\u00e9ndose en un recordatorio eterno de su existencia.<\/p>\n\n\n\n

\u00bfD\u00f3nde van nuestros datos despu\u00e9s de la muerte? \u00bfA qui\u00e9n le interesan los datos de quienes ya no est\u00e1n? \u00bfTienen a\u00fan valor econ\u00f3mico cuando dejamos de interactuar con recomendaciones y algoritmos? Estas son algunas de las preguntas que gu\u00edan este proyecto art\u00edstico. El malestar social derivado de la exposici\u00f3n constante a la vigilancia se ha reflejado en el arte contempor\u00e1neo a lo largo de los \u00faltimos a\u00f1os. La noci\u00f3n de intimidad, m\u00e1s fr\u00e1gil que nunca, se ve desafiada por el control que han asumido las m\u00e1quinas a trav\u00e9s de la inteligencia artificial y los sistemas de visi\u00f3n computarizada. Las dudas sobre la propia realidad emergen al enfrentarnos a obras que utilizan circuitos cerrados de televisi\u00f3n, donde la programaci\u00f3n nos hace cuestionar la fiabilidad de nuestros sentidos.<\/p>\n\n\n\n

El proyecto aborda de manera directa un tema central: la vigilancia despu\u00e9s de la muerte. Para ello, se analiza c\u00f3mo algunas de las redes sociales m\u00e1s influyentes\u2014Facebook, Instagram y la m\u00e1s reciente, TikTok\u2014gestionan los datos de sus miembros fallecidos. Este an\u00e1lisis se conecta con referencias de la cultura popular, como las series de televisi\u00f3n que, desde hace tiempo, advert\u00edan sobre un futuro dist\u00f3pico al que ahora nos acercamos de forma inminente.<\/p>\n\n\n\n

Estas ideas toman forma en una instalaci\u00f3n interactiva en la que el espectador puede observarse a s\u00ed mismo caminando e interactuando con personas que no existen en el plano f\u00edsico. Dos realidades, la virtual y la material, se entrelazan en este espacio, conviviendo y generando preguntas inquietantes. En \u00faltima instancia, \u00bfes la muerte la \u00fanica escapatoria a la vigilancia en Internet?<\/p>\n\n\n\n

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ENGLISH<\/strong><\/p>\n\n\n\n

The project No Right of Survivorship<\/em> explores the nature of online surveillance and how we willingly submit to it in exchange for certain privileges. It specifically examines the accumulation of deceased users’ data on Facebook, where, after having surrendered their information in life, it remains under the company’s ownership\u2014an eternal reminder of their existence.<\/p>\n\n\n\n

Where do our digital traces go after death? Who is interested in the data of those who are no longer here? Do our digital footprints hold any economic value once we cease to interact with algorithms and recommendations? These are some of the questions at the core of this artistic project. The social unease surrounding constant surveillance has increasingly found its way into contemporary art. The concept of intimacy\u2014now more fragile than ever\u2014is challenged by the dominance of artificial intelligence and computer vision systems. Works incorporating closed-circuit television force us to question the reliability of our own senses, as programmed realities blur the line between perception and deception.<\/p>\n\n\n\n

At its heart, this project delves into a pressing issue: surveillance beyond death. It examines how major social media platforms\u2014Facebook, Instagram, and the newer TikTok\u2014handle the data of deceased users. This analysis draws connections with elements of popular culture, such as television series that long foreshadowed a dystopian future\u2014one that now looms ever closer.<\/p>\n\n\n\n

These ideas take shape in an interactive installation where viewers can see themselves walking and interacting with people who do not exist in the physical world. Virtual and material realities intertwine, coexisting and sparking unsettling questions. Ultimately, is death the only true escape from online surveillance?<\/p>\n\n\n\n

\"\"<\/figure>\n","protected":false},"excerpt":{"rendered":"

ESPA\u00d1OL El proyecto No Right of Survivorship plantea una reflexi\u00f3n sobre la vigilancia en Internet y c\u00f3mo, de manera voluntaria, nos sometemos a ella a cambio de ciertos privilegios. Su enfoque se centra en la acumulaci\u00f3n de datos de personas fallecidas en la red social Facebook, donde, tras haber cedido su informaci\u00f3n en vida, esta […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-232","post","type-post","status-publish","format-standard","hentry","category-sin-categoria"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/myrce.net\/index.php\/wp-json\/wp\/v2\/posts\/232","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/myrce.net\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/myrce.net\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/myrce.net\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/myrce.net\/index.php\/wp-json\/wp\/v2\/comments?post=232"}],"version-history":[{"count":4,"href":"https:\/\/myrce.net\/index.php\/wp-json\/wp\/v2\/posts\/232\/revisions"}],"predecessor-version":[{"id":241,"href":"https:\/\/myrce.net\/index.php\/wp-json\/wp\/v2\/posts\/232\/revisions\/241"}],"wp:attachment":[{"href":"https:\/\/myrce.net\/index.php\/wp-json\/wp\/v2\/media?parent=232"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/myrce.net\/index.php\/wp-json\/wp\/v2\/categories?post=232"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/myrce.net\/index.php\/wp-json\/wp\/v2\/tags?post=232"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}